863

Deborah Kay Butterfield Echo the Horse Sculpture

Currency:USD Category:Collectibles / Western Americana Start Price:10.00 USD Estimated At:100,000.00 - 150,000.00 USD
Deborah Kay Butterfield Echo the Horse Sculpture
CURRENT BID
0.00USD+ applicable fees & taxes.
ENTER YOUR MAXIMUM ABSENTEE BID[?]
You must bid at least
10.00USD
USD
10.00 x 1 unit = 10.00USDApplicable fees & taxes are added at checkout.
[?]Live Online Auction Starts In 2025 Nov 08 @ 09:00 (UTC-07:00 : PDT/MST)
A bid placed on our auctions is a legal contract – it cannot be revoked or cancelled for any reason. By registering for our auctions, you grant us permission to waive your right to execute any chargebacks against our company for any reason. Auctions will be sold with and without reserve. If a lot contains a reserve price, it will be clearly noted in the corresponding catalog. All items are sold as is, where is with no guarantees expressed or implied.
ALL SHIPPING IS HANDLED IN HOUSE.
Title is Echo. 72" x 106" x 28". Steel. Provenance: Edward Thorp Gallery, 1989; From the Estate of Gary Fink. Published Reference: Michael Brenson, The New York Times, December 12, 1986 Deborah Kay Butterfield (Born 1949) is active/lives in Montana, California. Deborah Butterfield is known for Abstract mixed-media horse sculpture. Born in San Diego, California, on the day of the 75th running of the Kentucky Derby, Deborah Butterfield credits this event as determining her career as a modernist sculptor of horses. Her work is a combination of abstraction and reality. She uses found objects*, related to both horses and the discards of modern society, and applies these symbolic objects to armaments that are realistic shapes of horses' bodies. The overall effect is of a large, strong, loveable animal, gentle and calm, and it is obvious from the gentle personality conveyed by the objects that she has a strong affinity and understanding of her subjects. Butterfield received a Master of Fine Arts Degree from the University of California at Davis where she was a student of modernists William T Wiley, Robert Arneson, and Wayne Thiebaud. Her training in ceramics and sculpture increased her interest in crafts, but she decided to pursue the subject matter that was of most interest to her--horses. Her work has progressed through three stages. In the 1970s, she structured large, gentle mares that were highly realistic and were life-size plaster over steel armatures* and were finished with a combination of thin oil paint, ceramic glazes and shellac. She used muted blues and other colors, treating the horse romantically as though it were a canvas to be painted. In later works she took a more abstract approach, eliminating plaster and using mud mixed with straw, branches, and other fibers that had a direct connection to the earth. Sometimes she used paper mache and tar on the outside. In the 1980s and forward, she abandoned mud and used the junk of the twentieth century such as discarded barbed wire, metal pipes, wood fencing, rusting wire, corrugated metal, crushed steel, chicken wire, etc. She has taught art in several universities including the University of Wisconsin and the University of Montana and then settled her studio on her ranch in Bozeman, Montana, where she also raises horses.